T H E S T Y L E ere are briefexcerpts 伝 01 蝨 tWO poems about the end Ofa love affair. One ofthe poems was written by a woman who killed herself when she was 30 , and the other by a woman who died of natural causes in her 70S. Which poet committed suicide ~ 、 S it Poet 1 ~ ache Of marriage : 、 100k communion and are turned away, beloved, each and each. Or Poet I fancied you d return the way you said, ButI grow 01d and I forget your name ・・ first 蝨 was written by Denise Levert0V, WhO lived intO her 70S ; the second was written by SyIvia Plath, who committed suicide at age 30. While both poems express remorse about the breakup, they are remarkably different in one seemingly small way: their use offirst person singular pronouns. Plath, in talking about her pain, used the word three times; LevertOV avoided the use Offirst person singular pronouns throughout the excerpt. ThiS iS important because, as it turns studies ShOW 9

3 T H E P RO B L E M come out ofthe sky. lt turned ou い 0 be 崘 ko , though I hadn't met 崘 ko yet.. .The imagery was Alice in the boat. And also the image of this female who would come and save me—this secret love that was going [ 0 C01 蝨 e one day. SO it turned out to be Yoko, though, and I hadn't met Yoko then. But she was my imaginary girlthat we all have. Lennon's 1980 explanation provided the springboard for yet another interpretation ofthe song. ln a 応 0m0 [ e to his 1994 book, 火印 0 ん万 0 〃切ど砒み乃どおゞ法 4 〃イ功ど S 〃ぉ , music critic lan MacDonaId suggested the following: The girl with kaleidoscope eyes ・・・ was, for Lennon, the lover/mother ofhis most helpless fantasies: "the image ofthe female " hO someday come save 1 れ e. " mysterious, oracular woman—mourned for in ) ム [Lennon's 1965 recording], bewildered by in 品ど立ど & / イ [Lennon s 1966 song] —was originally his mother, JuIia, a role subse- quently assumed by ko Ono [in the songJulia, Lennon s 1968 recording]. So here we have four explanations for the origin and meaning of カ〃切 / 厖 Sky ル勗の法 : ( 1 ) lt is about the drugLSD; ( 2 ) it is a lyrical response [ 0 Julian's drawing, colored by the writings of Lewis carroll; ( 3 ) it is about a 1 れ ale savior , hO turned out tO be 崘 ko Ono; and ( 4 ) it is about Lennons mother,JuIia. ls only one of these explanations true ~ Are none Ofthem true ~ Are they all true ~ My sense is that while all ofthese explanations have some appeal, each one by itselfis incomplete and only partially satisfying.

Lucy in the Mind Of Lennon ln humans, this basic motive emerges quite strongly around the time children start crawling and is evidenced by their tendencies tO protest when separated 伝 om their caregivers and tO cling tO them upon reunion. and Other behaviors serve at least t , 0 functions: [ 0 keep increasingly 1 れ Obile children near the caregiver at a time when they could endanger themselves by wandering 0 圧 and to help children receive the comfort and "emotional refuel- ing" they need throughoutthe day (and night). cross-cultural studies ShO 、 that 1 OS [ caregivers meet their children's attachment needs by sensitively responding tO their children in warm and consistent ways, thereby helping the chil- dren to develop what Bowlby called a "secure attachmentstyle. ln their interactions With caregivers, children With secure attachment styles come [ 0 learn that they are loveable and that other people are trustworthy; as such, these children develop a strong sense Of self-esteem that allows them [ 。 confidently function in the world. lhey also typically believe that others will be available to provide them with C01 れ for [ when it is needed. Not all children are so fortunate. Research shows that chil- dren With caregivers WhO are rather COld and undemonstrative develop what is called an 420 / イ〃ー attachment style, as they learn that their attempts [ 0 seek SOlace are likely tO be rebuffed or met with half-hearted compliance by the caregiver. For these reasons, avoidant children are often hyper-independent, eventually devel- oping the attitude that "l can take care of myself and don't need anyone else. " still other children are raised by caregivers who are highly inconsistent, sometimes showering the infant with but Other times being physically or emotionally unavailable to help soothe 70

Lucy in the Mind 0f Lennon 72 he awoke alone in a dark room and called for her in vain. He was taken fror れ his mother's home tO live with an aunt and uncle, and then, after a few months, yanked back to his mother's home, where he soon found her liVing With a new and sometimes ViOlent 1 れ an. soon aåer that, he was again separated 伝 0n1 his mother when his father took him to the beach resort. lhen, after being forced to make a ChOice between his parents (a ChOice that no five-year 01d has the cognitive or emotionalcapacity [ 0 make), he paid the price ofa seemingly permanen い eparation 丘 om his father, who le 丘 his life entirely for years. And on the heels of this abandonment, the mother he ん 4 イ chosen to stay with gave him up yet again, this time for years. Essentially, the near-constant refrain ofLennon's first five years was union fO Ⅱ 0 ℃ d by separation, a style Ofcare that is proto- typical Ofthe disruptions in parenting consistency that are kno 、 [ 0 create anxious-ambivalent attachment styles in children. Beliefs about others and themselves that children derive from their earliest experiences dO not disappear as they age, according to attachment theory, but become part and parcel of their devel- oping personalities, even intO adulthood. it is possible tO provide further evidence that Lennon may have developed an anxious-ambivalent style Of attachment by considering the extent [ 0 which he exhibited the various features that research has shown characterize such individuals. Generally speaking, the match is strong. For example, children with this attachment style are likely to be angrier and behave more aggressively than children with the Other tWO primary attachment styles. Lennon clearly acted out physically and verbally throughout his childhood and adolescence. Research has also shown that the problems with self-esteem and

Notes on the Text 145 Lennon s own reflections on / ノ襯どん , and the quote regarding Dylan, come 丘 om Sheff ( 2000 , pp. 184 ー 185 ) ; they are reprinted by permission of St. Martin's Press. Other biographers' suggestions about the mean ing of Lennon's reference to policemen come from Davies ( 1978 , p. 276 ) and MacDonaId ( 1994 , p. 214 , 応 0m0 [ e 2 ). Everett ( 1999 , p. 133 ) reprints the childhood rhyme. FIhe séance [ 0 reachJulia's spirit is described by Goldman ( 1988 , p. 78 ). See Cassidy & Shaver ( 1999 ) or Mikulincer & Shaver ( 2007 ) for more about the pain ofseparation frOI れ the perspective ofattachment theory. 羽 quote regarding おんお is from Norman ( 2008 , p. 534 ). Lyrics ofthe songs are from Lowry ( 1988 ). Q&Otes from Cynthia Lennon about the end Of their marriage are from Lennon ( 2005 , pp. 212 ー 214 ) ; they are reprinted by permission of Random House, lnc. Lennon's description 。 f. can be found in She 伍 ( 2000 , pp. 189 ー 190 ) and is reprinted by permission ofSt. Martin's Press. Everett ( 1999 , pp. 170 ー 172 ) and MacDonald ( 1994 , pp. 260 ー 261 ) both provide interesting analyses of this song ・ Heroin's effects are well described ⅲ the の / 4 イ & 4 ホ庇ツ Ma 〃 / イ M 砌な / の (American psychiatric Association, 2000 , p. 271 ) , on www. erowid.org/chemicals/heroin/heroin.shtml and on *. drugrehabusa ・ 0rツ heroin/html. Lennon's quotes about heroin come from Goldman ( 1988 , p. 311 ). C H A PT E R 9 Again, refer t0 the notes in chapter 6 for information on how I compiled the biographical information about Lennon's life at this time. Janovs statements about Lennons state at the time primal scream therapy commenced are 丘 om Norman ( 2008 , pp. 639 ー 640 ). Lennon's quotes are 伝 om Sheff ( 2000 , p. 125 , reprinted by permission of St. Martin's Press) and 丘 om an interview he did with Howard Smith 0f radio station WPLJ ⅲ December 0f 1970 (see http : //homepage ・ ntlworld.com/carousel/pob/pob21. html). Lyrics for the songs from the / 4 ⅵ c 0 〃 0 召 4 〃イ album are 仔 om Lennon ( 1981 , 1997 ). The "dazed child" quote is from Norman ( 2008 , p. 652 ).

THE MAN, HIS RECENT PAST, AND HIS SON'S 円 CTURE 71 the child. Research suggests thatsuch parenting often leads these children to develop an 4 〃 0 郷房ん加 attachment style (or what is also called a おなな〃 or ア 0 〃 2 イ attachment style). These children learn from their interactions [ their caregiv- ers that while other people can occasionally help or soothe them when they are feeling bad, they should not be [ 。。 confidentthat those people will consistently be available. These disruptions in the attachment relationship also leave such children relatively unable to soothe themselves when they are upset, for they have not had the kinds of caregiving experiences that facilitate the development ofthis capacity. AS a result, anxious-ambivalent chil- dren are understood to have a んツ 2 ど - c 万″ 4 たイ attachment system, because they have stronger-than-normal desires for relationships that might give them the soothing they cannot give themselves. These children Often come to feel rejected because oftheir parents inconsistencies, thereby raising questions in their minds abOL1t how loveable they are. Negative beliefs about themselves, in turn, can cause them even 1 れ ore distress, thus lOCking these children intO a distressing cycle, as they have diffculty both soothing themselves and finding people who are consistently available to help soothe them. Much about Lennon S experiences in the first five years Of his life would have predisposed him towards developing an anxious-ambivalent style ofattachment. From the point Ofview Of a young boy trying to understand his world, the experiences he had with caregivers must have seemed rather bewildering. HiS father was repeatedly present and then absent throughout the first couple of years of Lennon's li に His mother seemed to like to play with him, but, ifthe reports ofbiographers can be trusted, a1k00 often

22 Lucy in the Mind of Lennon drug. Other findings om the LI\V ℃ analyses, however, suggest that the drug explanation is limited. lfthe song were about an acid trip, one might expect that Other linguistic features Of the song S lyrics would be similar to what people report while taking the drug. Certainly Lennon had the ability at this point in his career tO provide the listener With a reasonably accurate sense OfWhat it iS like tO trip on acid, as he had done some months earlier in the song 7 み 0 〃ル、をア・、 : 〃 0 ル 5. But instead Of reflecting the deep involvement in one's subjec- tive experience and feelings that are typical of taking LSD' the lyrics of カ〃切ど Sky D 0 〃法 are actually more similar to how people write and speak when they are lying and when they are attempting t0 psychologically distance themselves from pain- ful psychological material. Rather than focusing on the experience of the here and now, the lyrics ofthe song avoid the self and the present, and instead focus on the abstract, the intellectual, and that which is outside Of one's self. Moreover, rather than express- ing the bevy ofemotions that typically occur while one is tripping' and that Lennon often expressed in his other songs, カ〃ワ切ど Sky 肥″んノ ) 0 〃イゞ is almost barren Of feeling. Emotions, Of course, are notoriously here and 、 V," and rarely abstract. ln sum, these analyses of the linguistic style of カ〃り切功ど Sky ″ん、 / ) 0 〃イゞ suggest that while Lennon was writing these lyrics, he may have been rather wary ofengaging the present moment' his own inner experience, and hiS emotions.

Notes on the Text 141 publications/drug-profiles/lsd, and http://www.erowid.org/chemicals/ lsd/, and http://www..narconon.ca/LSD.htm. See MacDonald ( 1994 , pp. 148 ー 153 ) for discussion of LSD and 0 " 0 ル Ⅳ印ん加 . CHAPTER 3 McAdams ( 1993 ) is among the best known psychologists who has written about the importance ofstories in human identity. Hobson ( 1988 ) proposes a narrative approach tO dreams. The Thematic Apperception Test (TAT) was first developed by Morgan & Murray ( 1935 ). McClelland, Atkinson, Clark, & LoweII ( 1953 ) discuss measurement Ofthe achievement motive Via thiS method. The fundamentaltheory behind the scripting approach is described in D emorest & Alexander ( 1992 ) and Tomkins ( 1987 ). lhe paper on the scripts of B. E Skinner is by Demorest & Siegel ( 1996 ) ; the scripts are presented on pp. 250 and 249 respectively, and are reprinted by permission 0fJohn Wiley and Sons. lhe descriptions ofhis birthplace and ofhis first experiment are from Skinner ( 1984 , p. 3 ) and Skinner ( 1956 , p. 223 ) , respectively. The script provided by Dr. Siegel is reprinted with his permission. For Cynthia Lennon's reflections on the diffculties ⅲ her relationship with Lennon during this period, see, for example, pp. 181 ー 186 ofLennon ( 2005 ). See Alexander ( 1990 ) for the usefulness of the primacy rule. She 圧 ( 2000 ) reports Lennon's reflections regardingHeIlo カ加ん Girlon p. 172 , and regardingl Call ど on pp. 169 ー 170 ; these quotes are reprinted by permission 0 「 S [. Martin's press. CHAPTER 4 lhis dream of Freud's patient is related ⅲ slightly different forms ⅲ Freud ( 1899 / 1999 , pp. 264 ー 265 ) , ( 1920 / 1943 , pp. 110 ー 112 ) and ( 1952 , pp. 53 ー 54 , (8).%ese books also provide fine explanations ofthe method Of free association. HObson ( 1988 ) presents an overvie 、 ofcontemporary research int0 dreams. The classicstudy referred to here is Meyer and Schvaneveldt ( 1971 ). Cognitive psychologists still do not agree exactly on how concepts are organized ⅲ

110 Lucy in the Mind of Lennon aptly described as "the voice of a dazed child. " Amidst repeti- tions Ofthe title phrase, Lennon bemoans hOW his mother's death caused "SO much pain" that he could "never ShO 、 M. '' ln these songs written for ん〃カ〃 0 〃 / 2 な 0 〃 0 召〃 Lennon S pain iS obvious, hiS past attempts tO suppress hiS pain are acknowledged, and the events that caused "SO much pain are explicitly described. %ere is almost no need for the psycho- biographical methods that were required to decipher and decode カ〃ヮ切坊ど Sky ル勗の 0 〃ム for by the fall of 1970 Lennon had become able to express fully his feelings about his childhood, his mother, and her death. Rather than using the kind of emotion- ally distanced linguistic devices that SO characterized カ〃ワ / 〃ーんど をアル / ん 1 ) / 7 〃 0 〃イ , Lennon no 、 wrote hiS songs in an emotion- ally immediate way: 1 れ OSt Ofthe words are short, the pronouns are primarily first person singular, the verbs are mostly in the present tense, and the negative affect iS prominent. ln these songs Lennon also relied less and less on the lyrical and musical idioms that had characterized カ〃ワ切ど Sky 曜勗の 0 〃法 and the other songs he had written that skirted around the issues Of IOSS, death, depression, and his mother. The songs on な 0 〃 0 召 4 〃イ con- tain no mother up in the sky, none Of the idealized imagery that surrounded her in ノ〃 / / れ , and no veiled allusions tO sadness and death connected only by chains Of associations. These songs alSO havelittle ⅲ the way of the complex time changes and chord pro- gressions that were present in earlier songs. lndeed, about the only striking musical similarity between カ〃ヮ切ど Sky の 0 〃 and the songs on ん〃カ〃 0 〃 / 臾 / 小 0 〃 0 召 4 〃イ is Lennon s use ofthe repeated three-note descent around which the melody of り財〃のイ is based.

99 T H E N EXT S 0 N G S afterJulia died, Lennon broughttogether severalfriends to hold a seance and try tO reach her. lhe First Ha 圧 0 日 968 As noted in chapter 6 , fundamentalto BowIby's attachmenttheory iS the idea that emotional distress results when people are separated 仔 01 蝨 important individuals their lives. Research studies consis- tently show this [ 0 be the case for infants, children, adolescents, and adults, and further document that theloneliness, anxiety, and dep res- sion that occur after separations are particularly intense for individu- als who have anxious-ambivalent attachment styles. such painful feelings are thought [ 0 be particularly severe for these individuals because separations in adulthood reactivate their beliefs that they desperately need relationships [ 0 soothe themselves but that other people are unlikely to be consistently available for that purpose ・ Lennon experienced tWO note 、 vorthy separations during the first half of 1968. First, Lennon's father moved [ 0 Scotland with his young fiancée (who had served briefly as JuIian's nanny). Some stories suggest that this separation was precipitated by an argu- ment between Lennon and Freddie about Lennon's wife cynthia. ln any case, although Lennon continued [ 0 send Freddie money, they once again parted, this time for almost three years. second, certainly crucial, separation was 仔 01 れ YOkO Ono. Lennon first met thisJapanese avant-garde artist in early November of 1966 , previewing her show ata friend's art gallery and then seeing her again a couple ofweeks later at another show.. soon after, ko sent Lennon her book of aphoristic poems, G 第亜〃″ ,